By Günter Figal
Connecting aesthetic adventure with our adventure of nature or with different cultural artifacts, Aesthetics as Phenomenology makes a speciality of what paintings potential for cognition, popularity, and affect—how paintings alterations our daily disposition or habit. Günter Figal engages in a penetrating research of the instant at which, in our contemplation of a piece of artwork, response and suggestion confront one another. For these knowledgeable within the visible arts and for extra informal audience, Figal unmasks artwork as a decentering event that opens extra probabilities for knowing our lives and our global.
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Additional resources for Aesthetics as Phenomenology: The Appearance of Things (Studies in Continental Thought)
The image of the imaginary museum is certainly accurate in that aesthetically experienceable art can encompass extremely different works; if one assesses the collected presentation according to the type and origin of the works, it can appear arbitrary. But if the gathered works are illuminating as works of fine art, then it is a merely alleged arbitrariness. 72 If the beautiful can be experienced, it cannot be the result of a subjective impression. Then it is also not an “ideal” that is opposed to the reality of life, no “illusory masking, veiling, or transfiguration,” as it appears to be in Gadamer’s interpretation of Schiller’s letters on aesthetic education (88).
In this topic, one sees freedom mediated with nature; it is considered a particularly evident manifestation of the one reality that unites freedom and nature. Hegel expressly takes this turn. He retains the term “aesthetics” but distances himself from that which it designates. . ”55 Yet because, according to Hegel’s conviction, artworks are not understood in their effects but only as a human activity that “has sprung forth from spirit” and thus also belongs “to the ground of spirit” (48), it is the sensible manifestation of spirit, accomplishing itself in human action, that centrally holds Hegel’s interest.
Not every work that lends itself or even offers itself to art-philosophical observation is univocally graspable as classical or emphatically modern. There are newer works that are not emphatically modern in Adorno’s sense but that are illuminating as artworks. Moreover, in order to demonstrate their quality these works need not have proven themselves over against “historical critique” in the flux of ages, and are thus not classical in Gadamer’s sense. One might consider, for example, Gerhard Richter’s paintings, Peter Handke or Botho Strauss’ texts, Manfred Trojahn or Wolfgang Rihm’s music.
Aesthetics as Phenomenology: The Appearance of Things (Studies in Continental Thought) by Günter Figal